Lecture notes: Shipping rocks and Sand: ballast in global history 34th annual lecture of the german historical institute, Washington DC, November 11, 2020 Roland Wenzlhuemer Ludwig – Maximilians – Universität München
Seafarers had to ballast their vessels from ancient times. Vessels needed ballasting for stabilisation in the water. Heavy materials were loaded into the lowest part of the ship’s hold. Ballast determines how deep a ship lies in the water. In non-nautical terms, it acts as a counterweight against the forces of the wind and the waves. It improves the speed and navigational capacity of a vessel and ultimately keeps it from capsizing in adverse conditions. Today, most vessels use water as ballast – also with unintended consequences of global organism migration.
Unfathomably large quantities of ballast were loaded, transported and eventually unloaded elsewhere in the global history of shipping. 253,651 tons of ballast were shipped out of London in 1804, by 1862 the volume had increased to 868,615 tons. For ship owners, merchants and captains alike, the transshipment of ballast was an unintentional, often unwanted by-product of globalisation.
Ships sailing in ballast was typical and unprofitable. The need to load ballast, pay for it and later dispose of it, led to seeking materials as ballast that had use at the ship’s destination. Mostly ballast was dumped at the end of a journey in the easiest way – that led to silting of harbours and shipping channels, changes in marine topography and trans regional organism transfer. Trans shipped ballast left its traces in the cobbled streets of port cities, in the harbour basins, local legislation and local flora and fauna.
Ballasting and de-ballasting was part of global shipping infrastructure, along with its economic, social, environmental and legal consequences.
ballast stone 2026 grouping and dimension are variableballast stones [selection], western australian ores, salt, eggshell, mica, jarrah charcoal, pigment, sea grass in wax. 052026
airmaker [stromatolite]
stromatolite [air maker series] encaustic with silica and calcium compounds, jarrah charcoal and ash, and pigment. 360mm h x 300mm w x 200mm d late 112025
stromatolite [air maker series] encaustic late 112025
stromatolite [air maker series] encaustic late 112025
stromatolite [air maker series] encaustic with western australian ores, glass ground, jarrah charcoal and ash, and pigment. 320mm h x 212mm ø water body plinth 156mm h x 217mm w x 204mm d mid 122025
stromatolite [air maker series] composite view
stromatolite object: minerals from western australia as pigment, eggshell, encaustic, jarrah charcoal and dye. 120mm h early january 2024 water body plinth 120mm h x 144mm w x 94mm d late 2025
alcove
Located 34.8320°N 67.8267°E, the two Buddhas of Bamiyan were c.570 CE and c.618 CE statues in the Bamiyan Valley of Afghanistan – the time when the Hephthalites ruled the region. On 2 March 2001, the Taliban began destruction of the statues that lasted several weeks. The alcove remains.
Located 22.6175°S 117.1577°E the 46,000+ year old Juukan Gorge rock shelters were permanently destroyed on 24 May 2020 as part of mine expansion of Brockman 4. In 2014, the site was classified as ‘cleared’ for mining and removed from relevant risk registers, with ministerial consent under Western Australian legislation. Prior to its destruction, the site had been excavated in 2014 with the remains/artefacts stored at Rio Tinto Dampier office, in north-west Western Australia. The value of iron ore accessed from the area following the blast was AUD $135 million [2021].
The notion of alcove, recess, staging and protection [harbour] is pondered where the overarching [philosophical] structure becomes the fount of a work. A work does not go in, it comes out of that structure.
The punchline for the alcove series artwork is about the origin and application of a philosophy and when a doctrine is not linked to an overarching philosophy. If it is true, that all art is philosophical, it may point to why arts practice is practical, valuable and therefore maintained – because it is an accessible place where philosophy can be investigated and formed. In the references above, one is religious [based on revelation and faith] and the other is an economic system. Both are doctrines/ideologies, where a philosophy is absent. The development of a philosophy, fit for use over a life time, may be why an arts practice is counter culture.
alcove series three. Western Australian ore, calcium carbonate, glass ground and pigment in wax. 515mm h x 457mm w x 327mm d. mid 052025
alcove three. composite view
alcove series four, jarrah charcoal, calcium carbonate, glass ground and pigment in wax. 500mm h x 310mm w x 185mm d. mid 102025
alcove four, parts
alcove series one. Western Australian ore, kaolin, calcium carbonate, glass ground and pigment in wax. 385mm h x 322mm w x 212mm d. mid 032025
alcove one. composite view
alcove series two. Western Australian ore, kaolin, calcium carbonate and glass ground in wax. 576mm h x 413mm w x 272mm d. 042025
alcove two. composite view
figure
head, jarrah charcoal and glass in wax with synthetic gold foil. 250mm h x 210mm w x 150mm d. 10012025
wax head [what do you do when this land breathes into you] 2006 western australian geology, shell and pigment
hooded figure, western australian minerals and stone, glass and seagrass in wax. 370mm h x 260mm w x 210mm d. 27072024
figure with boat [exhibition narrative]
precursor: exhibition and performance NMTafe Gallery Central 2024. A collaboration between andrew stumpfel, alice cummins and soula vouyoucalos-veyradier.
objects
purvisonic sound speakers as signalling prompt for signalling flora project august 2025
signalling flora, jarrah charcoal, pigment, ground glass in wax, and synthetic gold foil. late 102025.
signalling flora, jarrah charcoal and pigment in wax 200mm h + 210mm ø
signalling flora, jarrah charcoal and pigment in wax. 165mm ø x 520mm l. mid 102025
signalling flora [details]
chemistry set [part one of two] using the condensate extracted from the sound practice room at the collective space, to demonstrate the alchemy. 560mm h x 600mm w x 404mm d. early 102025
chemistry set [part two of two] 560mm h x 600mm w x 404mm d. early 102025
chemistry set sculpture graphics prompt
bone. glass and eggshell in wax 150mm h x 440mm w x 130mm d. 27072024 collection of North Metropolitan TAFE, western australia
precursor interaction/performance by alice cummins, gallery central 13 november 2024 interaction shot by fionn mulholland [05:49], with bone
objects: minerals from western australia as pigment, eggshell, encaustic, jarrah charcoal and dye. 120mm h early january 2024
object study: plaster, egg shell, pigment and mineral prepared for assay 210mm l 122023
objects: minerals from western australia as pigment, eggshell and jarrah charcoal. 130mm h february 2024
object study: plaster, egg shell, jarrah charcoal and mineral prepared for assay 228mm h
precursor: exhibition and performance NMTafe Gallery Central 2024. A collaboration between andrew stumpfel, alice cummins and soula vouyoucalos-veyradier.